chola bronze art.pptx

Chola bronze art

1. A Report on“Chola Bronze Art” Under the guidance of Prof. Amrit Anurag In partial fullfilment of requirement of the subject in B.A.History (Hons.) Academic Year- second year(4 th semester)

2. Introduction Indian bronze exhibit rare charm and exquisite beauty. They are valued for their elegance and craftmanship. The oldest group of bronze sculptures from the Indian subcontinent date back to the 3 rd millennium B.C.E. Bronze is a alloy of Copper and Tin .Historically it was often alloyed with three other metals like silver,zinc and gold called PANCHLOHA. Ocassionally it was alloyed with the eight metals and called ASTHADHATU. Usually Indian bronzes are cast solid but very often they can be hollow and finished with engravings, guilding or repouse . The tradition of casting metal images started in North-west India . It later travelled through the heartland of the country reached south India around 3 rd -4 th C.E. and attained the high watermark under the reigns of pallavas cholas and succeeding dynasties .On the forearm of the hand is placed the Bhujana Valayastrands of his hair spread horizontally on the either side of his head representing his vigorous dance within a circular prabhamandala framed with five tipped flames representating the oscillating universe.

3. 6. Appar South India 10 th century 7. Manikkavachakar South India 12 th century 8. Krishna South India 12 th -13 th century 9. kali South India 12 th century 10. Natarja Tamil Nadu 12 th century 11. Shiva Tripurantaka Tamil Nadu 12 th -13 th century 12. Budha Phophanar 11 th -12 th century s.no NAME PLACE TIME PERIOD 1. Nataraja Tamil nadu 9 th -10 th century 2. Vishnu South India 17 th century 3. Devi(goddess) South India 13 th century 4. Devi Tamil Nadu 12 th -13 th century 5. Devi South India 13 th -14 th century

4. NATARAJA (Early chola period) We saw two type of Nataraja sculpture in Delhi Museum , First belongs to early chola period and second from the later chola period. I am talking about the early chola period sculpture , 9 th -10 th century. The bronze image of Nataraja is in the Chatura - tandava pose, height 71.5 cm,width-16.o cm, depth 20.7 cm. Natraja is regarded as lord of dance and his dance is manifestation of his panchkrityas of lord shiva that are creation, preservation and destruction ,veiling and grace, creation sybolised by the drum. Preservation by ” fear not” hand gesture, destruction by the fire ,embodiment by the foot planted on the ground ,grace release by the foot held a loft. Nataraja shows all five element : Earth , water, fire ,air and space by his dance forms the purpose of dance release the person from illusion to the ideas of self of physical world . Left leg of Nataraja is raised diagonally to the right one with his foot up in the air, denoting the path of salvation. Siva tramples the demon Apasmarapurusha (the image of ignorance) with his right leg.

5. . Adorning the head of the lord is a jata-mukuta , embellished with the river goddess Ganga, a snake, jewels, flowers, a crescent moon and a human skull. The art of medieval India, like the art of medieval Europe, was primarily in the service of religion. The devotee’s spiritual experience was enhanced by meditation inspired by works of art and architecture. As a symbol, Shiva Nataraja is a brilliant invention. It combines in a single image Shiva's roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas. Shiva's dance is set within a flaming halo. The god holds in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhayamudra (the gesture that allays fear.

6. Vishnu, the preserver is most often portrayed holding the militant attributes that symbolise his protective role. This practically flawless Lord Vishnu sculpture is from late Chola period (880 to 1279). It is made up of bronze with height- 84.7 cm, width- 35.6 cm and depth- 22.8 cm. Vishnu has many forms, but this four-armed form is most common in the historic period of Antique Chola Lost Wax Bronze Icons, as we seen in the museums and temples throughout India. Here the Standing Vishnu holds a Shankha or conch shell in his upper left hand which is used as a war horn to signal troops and in the upper right hand, he holds a Chakra or discus in the beautiful posture. The Chakra are the emblems of Vishnu. The Chakra named Sudarshana , a powerful weapon that is Time personified and symbolise Dharma. It revolves on Vishnu's index finger and launches at his will. If released on a target its chases it relentlessly and returns to Vishnu only after destroying its target. His right hand is raised in Abhaya Mudra (assurance or granting fearlessness) and left extends and rests near his waist in Katyavalambita Mudra. This sculpture is one of the finest and is more than a visual description. It is, in fact, an eloquent evocation of God's very presence. Vishnu is shown here in a state of total equilibrium, his various powers and potentialities is perfectly balance against each other. Vishnu

7. D E V I The Devi (goddess) stands in a tribhanga posture on a lotus pedestal which is mounted on a rectangular base. The hair is dressed hair with sixteen spiral locks hanging on the back. The costume consists of a lower garmet reaching below the knees, which is held at the waist by a mekhala girdle with tassels and clasp in front. It is of late chola period of 12th-13th century CE . The height is 59.5 cm, width is 23.5 cm and depth is 19.5 cm and this is a bronze sculpture. It is in standing pose, well decorated with ornaments showing a typical mudra with right hand. It is a solid statue and it was cast in bronze during Chola period. This sculpture reflects feminine features in an excellent manner. It is wearing very few ornaments which conserve its basic structure. Its most remarkable characteristics are proportionally designed broad shoulders, round breasts and narrow waist. A specially designed crown on its head adds beauty to the structure. It has a live impression of divine dignity and innocence on its face. It's quite small size and eye catching beauty and individuality reserve a unique place in the history of Indian art. Now it is a collection of the National Museum, New Delhi. There are two sculptures of devi(goddess) but both differ in time period and dimensions. This also shows the importance of female diety during Chola period.

8. DEVI The period of the imperial Cholas in South India was an age of continuous improvement and refinement of Chola art and architecture. They utilised the wealth earned through their extensive conquests in building long-lasting stone temples and exquisite bronze sculptures, in an almost exclusively Hindu cultural setting .The goddess or Devi image in India has evolved from fertility figures in the very early centuries to complex forms bearing special iconographic features . Devi figures are commonly seen in Indian bronzes .There are three Devi sculptures kept at National museum. All the three sculptures look alike but they have certain minor differences. There is a sculpture of a Devi ( goddess) which is of 12 th - 13th century CE of South India.

9. DEVI An important south India, chola dynasty, bronze figure of devi 13th/14th century Standing in Tribhanga on a lotus, placed on a rectangular base, her right hand in front of her well modelled breasts, her left stretched downwards along her body, wearing horizontal pleated dhoti, belts with sashes falling near her hip, upavita , necklaces, her face with almond-shaped eyes, aquiline nose, slightly smiling lips, pierced elongated earlobes, a diadem with strings behind the ears to which a pair of makaras are attached and resting on her shoulders, high hairdress falling in strings at her upper backside, the front with central emblem and a separate moulded cakra behind86 cm high. This fine bronze is casted under the Chola Dynasty who ruled South India from A.D. 880 until A.D. 1279. Its inhabitants were primarily followers of the Saiva branch of Hinduism and worshipped the main god Siva and his many 'family' members. The bronze under review might represent Parvati, the consort of Siva. However, as she is not any longer.

10. Appar This is the image of the saint Appar , who was popular in South Indian shavism . The image is identifiable on the basis of the staff that he holds, and his ascetic like garment. He is standing with joined hands in Anjali-Mudra, wearing necklaces and arm bands. It is a Bronze statue. The pedestal that he stands on is symbolic of the double lotus which signifies purity. It is a sculpture of tenth century, chola period from South India. Its height is 43.0 cm and width is 18.5 cm and depth is 18.5 cm. It is very small in size and made in a very fine way. Given clarity to the every part of the statue. It is not looking heavy. He is also wearing a hat. This sculpture is situated in National Museum of India in Delhi. It signifies that in that period people have belief in saints and lord shiva. He was very important saint that is why they made this sculpture. This is also shows that bronze metal were using o that period in very high amount. It is also showing the skills of the craft persons  of that period.

11. Manikkanachakar It is a late chola sculpture of 12th century.Image of shaiva saint manikkanachakar.Although he is a monk so dressed accordingly with ringlets falling over the forehead with short hair Standing straight nd the raised right hand is in China - mudra (the index finger and thumb are joined) while in the left he holds the tiruvachkam manuscript bearing a multilated inscriptionHis shoulder are broad wearing cloth only on the lower section of the body wearing one beads anklet in neck and having big hole in both the ears .He lived in madhuraiHis works are celebrated for their poetic expressions of anguish of being separated from God ,and the joy of God ,experience with his estatic religious fervour drawing comparison with those of western Saints.

12. This is the image of krishna which is situated in Delhi national Museum of India in which Krishna is standing on a double Lotus pedestal which has an oval shape. The right hand is in Kataka - Mudra. The hair is tied into large fan shaped loop and braided locks hang on the back.The costume consist of a short drawer secured by a girdle the later with kirti mukha claps in front. It is a late chola period of 12th- 13th century CE. Physical dimensions ; The height is 67.0 cm , width is 30.0 cm and the depth is 23.5 cm it is small in size and made by bronze with clearity . By looking all the artefacts of chola Empire we can say that they had great faith in God, the proof of which is the sculptures made by them. The late chola used bronze more for making sculptures.The art reached at a high stage of development during this time.The sculptors work during this time are famous for their elegance, sensitive modeling, and balanced tension.Realism and attention to finer details reached its utmost perfection during this time. The sculptures of gods and Goddesses in the later Cholas show that even in the thirteenth century people worshiped the Gods. Krishna

13. KALI (BRONZE SCULPTURE) LATE CHOLA , 12TH CENTURY CE SOUTH INDIA This superbly detailed, solid-cast image of Kali (also known as Chamunda ) is in a form associated with South Indian Chola period of c.850 to 1200.It has 75.4cm height , 305c width and 17.8cm depth. The goddess sits in the posture of royal ease known as LalitasanaThe face of the image here is particularly finely sculpted, the features of which remain preserved mainly the lips are slightly pursed, almond eyes with fine lids, and a prominent but fine nose. The waist is fine and she wears ample jewellery and other ornaments. The beautifully proportioned form is redolent of Chola-era casting. The goddess has eight arms with attributes in each of her remaining hands. Her range of weapons conveys her fierce nature and her authority. Her upwardly flaming hair forms a dramatic halo about her head. The headdress above the forehead is adorned with a skull, and Shiva’s crescent moon has been cast to the right of the headdress. In this regard, the image’s facial characteristics and ornamented headdress follow a larger bronze of KaliThe image also identifies the flaming hair which stands erect as flames of a fire.On the left the head bears a crescent moon ( aradha - chandra ), in the centre a skull flanked by two cobras and on the right a coiled cobra.On her rear hands she holds a noose and a goad( ankusha ), her front hands are in abhaya and varada mudra.

14. NATARAJA Nataraja, the Lord of Dance, represents the five essential acts of Siva-creation, preservation, destruction, veiling, and grace. The dance he performs is called the Ananda Tandava or the dance of bliss. Siva dances in triumph of defeating demons or for the pleasure of his consort.The image of Nataraja is bedecked with three eyes and four arms, the front left hand is depicted in danda - hasta or the Gaja - hasta pose thrown on the right side, while the rear one, holds agni (fire) denoting the power of destruction. His front right hand is in abhaya -mudra (symbolizing protection) and the one at the back holds a damar (hand-drum), symbolizing power of creation. According to our personal observation of the natraja sculpture and various other chola bronze sculptures, we noticed similar features such a sharp and pointed facial attributes. The index finger of the right hand of the natraja sculpture has been broken by the forces of time yet it stands as a hallmark of ancient indian craftsmanship and religion.The symbolism of Siva Nataraja is religion, art and science merged as one. In God's endless dance of creation, preservation, destruction and paired graces is hidden a deep understanding of our universe.

15. Shiv tripurantaka . This is an elegant example of two armesld bronze image of shiva - tripurantaka which is shown standing firmly on his taut right leg annd the left leg bent at the knee on a double lotus pedastal .The arms are in the gesture of holding the bow. His hairs are arranged in the high jata - mukuta . he wears a fillet , forming loops on forehead , necklaces, skandhmala on right .It is decorated with the chain of flowers on either side armlets , bracelets , yajnopavita , udarabandha and anklets.The lower garments consists of short drawer, decorated with geometric and floral design .It is finally modelled & well proportioned example of early chola art where the artist could assimilate his heroic deed and blissful posture in a single image. Tripurantaka form of shiva is represented in various now riding a chariot of which vedas were the horses, brahmas were the charioteer .. the theme was very popular with the chola artists but waa known in time of the  pallavas  also.

16. BUDHA Vakataka Seven bronzes were found at Phophnar . All represent the Buddha standing, with the right hand in the abhaya (protective) pose and the left hand holding the hem of transparent sanghati . The head has full curls of hair with topknot (protuberance). The earlobes are elongated and the eyes are half open, suggesting serenity. Out of seven, two have drapery of ubhayansika sanghati (garment covering both the shoulders) and five have drapery of ekansika (covering left shoulder) onlyThe size varies from 10.2-25.4 in. (26 to 64.5 centimeters). The best piece is in the collection of the National Museum of New Delhi. The Brahmi letters on its base resemble the inscriptions of Ajanta. The standing Buddha in abhaya pose (27 in. [68.5 cm] high), now in the Asia Society of New York, wears a Garment with schematic folds, following the Mathura tradition. The other Buddha (19.5 in. [49.5 cm] high), in the same collection, wears smooth drapery in the Sarnath fashion. The figures of the Buddha from Nepal, now in the Norton Simon Foundation, Pasadena, California, and the Cleveland Museum, have similar features. The largest statue (7.4 ft. [225 cm] high), now in the collection of the Birmingham Museum and Art Gallery, hails from Sultanganj , Bihar, and belongs to the late Guptan or post- Guptan  phase.

17. Conclusion Based on our observation, chola bronze sculpture is the finest , elegant, Expressive and exquisitely beautiful. A wide range of chola sculpture (especially Shiva), found from the Tamil Nadu region, so on the basis of this, we Can say that chola sculpture would be prominent in Tamil region (Tanjore). They focused on a whole idol but the Expressions on the faces of t figures are very Explicit. On the basis of Jewellery , necklace and different type of metal, which is used in sculpture, shows the prosperity and power of chola. Through the different sculpture like Nataraja , we can say that chola were popular in its Art, Architecture, science, Culture, technology etc. Through the sculpture and figure founded from Chola Empire , we can say that they had the strength powerful at that time .They were used "lost wax" technique for Chola Bronze sculpture, shows that they were advance in technology. Comparison to other foreign sculpture, the shape contours, facial and hand Expression of these idols is quite finest. Many of sculpture mainly was related to Hinduism , some of related to Buddhism also, but On the basis of Hindu Idols we can say that Hinduism is prominent religion in Chola Empire.

18. Submitted by:- A n s h ika Pa n dey ( 2 1 5 1 8 1 5 ) A n a m ika Ku m ari ( 2 1 5 1 8 1 6 ) Brijbala P o s w al ( 2 1 6 1 8 1 7 ) Kirti Si n g h ( 2 1 5 1 8 1 8 ) S on ali raj Ver m aa ( 2 1 5 1 8 1 9 ) Ziya Ku m ari ( 2 1 5 1 8 2 ) S h ataks h i ( 2 1 5 1 8 2 1 ) Arc h a n a Gupta ( 2 1 5 1 8 2 2 ) N a n da n i ( 2 1 5 1 8 2 3 ) B h abya S h reyas h i ( 2 1 5 1 8 2 4 ) S h iva n gi Ku m ari ( 2 1 5 1 8 2 6 ) Alis h a N e h al ( 2 1 5 1 8 2 7 ) Pragya Ti w ari ( 2 1 5 1 8 2 9 ) R o s h n i Ver m a ( 2 1 5 1 8 3 1 ) Yashi Rani (21518030)